The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1887-07-07
The Afternoon Session.

The afternoon session was one of especial in
terest There was a rafting salvo of applause
as Charles FL. Jarvis, the p anist, came upon the
platform and seated himself at the instrument
Mr.. jarvis was born in Philadelphia, in Dscem-
Der, 1887. half a century ago. and has lived there
all his life, this being his first visit to distant
Western point Indianapolis For twenty
five years he has been giving musical soirees and
teaching the piano. He is old-fashioned gen.
tleman with chin whiskers. wears eye glasses
and q swallow-tail coat. His piano recital in
cluded prelude, A minor 81. S. Bach) Sonata
Appasionata, first movement (Beethoven): Bal
lade, G minor IF. Chopin; Novelette,, OPP. 81,
No. 8 r. Schumannl La Muette de Portici IS.
Thalberg): Etude Paganini, E fat. La Campan-
ella Of. Lisztl.
Miss Efhe Stewart, of New York. sung Bos-
selets "Ne touchez pas la Refine The But
'.Exultation" IL. L. Scaife). In response to a
welln
The subject of the essay read by E. NJ Bow
man, St Louis, ex-president of the association,
was 1.-THE American College Of Musicians, the
Ally OF the Competent Teacher" The paper
was long one, but retained the interest of the
audience frou first to last. His paper was for
the most part devoted to the leeato touch in
foundational teaching and study in piano forte
playing His paper embraced the points ~
fundamental importance of the lagato touch; ~
the existing condition of study with regard TO that
touch; (3) the causes and a means for betterment.
This touch is the germ of artistic performance
without which there can be no bud. flower,
no fruit. 1t Is not to be understood that the
legato touch may substituted for musical
talent, adaptaolity and application, but it is to
be understood that the advantage to be derived
from the possession of either all these factors
will be lost IT, in place of the leeato habit,
have the staccato habit. The student who is
forming the staccato habit is surely building a
veritable Chinese wall between himself and the
probability of his ever learning to play the
piano-forte or organ in an artistically effective
manner. no matter how great his native talent.
or now much practice he may bestow
upon his instrument. DIR. William Mason, in re-
ply to q letter, says: 1t is difficult for me to
give you an exact percentage, but in my expe-
rience 1t Is the rarest thing find pupil who
has a unsteady legato touch; it is extremely
rare to find one who has a mechanical legato
touch. for make a distinction between tie two.
Throughout my whole career a teacher on the
pianoforte this fault-non-legat playing on the
part OF pupis-has given me more trouble than
can easily express. A merely mechani-
cally legato touch is more to be desired than
is mechanical poetry, and in order to steer clear
of this the most careful attention should be
given TO ear cultivation from the very outset.
Give the beginner an instrument which
has long, singing and musical
tone. otherwise the ear will become accustomed
TO short chppy tone, and subsequent correc-
ton will be found exceedingly difficult Violin
players have difficulty in securing the legato
habit Begin the cultivation OF the at the
first lesson, and neverigive it vacation. If the
child sings il will be help TO acquiring must
cal touch; If not he must either learn to- or,
closely observing the singing of OF hers, absorb
the singing mind-the mental process of song.
The points l have sought to establish are: H.
The legato touch is the fundamental resource
of the pianist, the eermi of all artistic piano
forte playing; ~ the piano-forte pupils in this
country are studying in way which,
Notwithstanding whatever talent they may pos
sess or good instruction In other respects they
may be receiving, will not and cannot lead to
artistic performances; 70. that the leeato touch
-houid be the hsst thing acquired by the begin